The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . TOE KLMo FnKSW AHID SEC1THID TOOTS. TREES. 163 of the foliage, it sometimes happens that the whole mass relieves cool, as inthis instance, from a body of warm colour, presented either by a sunset orthe local colour of the objects behind. Examples 4, 5, and 6, show thereflection of the cool tint of the sky behind the spectator; and should thefoliage be glossy—many leaves being so—the upper portions and extremeedges, partaking of the chara
The theory and practice of landscape painting in water-colours Illustrated by a series of twenty-six drawings and diagrams in colours, and numerous woodcuts . TOE KLMo FnKSW AHID SEC1THID TOOTS. TREES. 163 of the foliage, it sometimes happens that the whole mass relieves cool, as inthis instance, from a body of warm colour, presented either by a sunset orthe local colour of the objects behind. Examples 4, 5, and 6, show thereflection of the cool tint of the sky behind the spectator; and should thefoliage be glossy—many leaves being so—the upper portions and extremeedges, partaking of the character of the sky, will be still cooler; while therich bright colour seen through the leaves and branches, attracting the eye,will cause it to penetrate to the warmer tone beyond. In Example 7,warm autumnal colours are massed together. In this case, the light partsbeing illuminated by the sun, their tints are extremely rich, and the eyepenetrates, as it were, the whole mass, which possesses great depth of colourwithout blackness. To obtain this effect, great care in preserving thepurity of the tones is required, and the whole must be worked by a proc
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Keywords: ., bookcentury1800, bookdecade1870, booksubjectwatercolorpainting
